Wednesday 26 December 2012

Top 10 films of 2012





     1.    End of Watch - Probably wouldn’t make most people’s top ten but as I have only seen 12 films this year it does but it is also a powerful film; hugely emotional, constantly hilarious and thrilling. And the found footage format partially succeeds; no other film affected me as much this year.

     2.    Argo – A great mix of Hollywood satire, comedy, hostage thriller and deep political drama; a homerun for Affleck

     3.    The Cabin in the Woods - Easily the most inventive narrative since Pulp Fiction with a hugely satisfying series of twists that raises it above most films any year.


     4.   Life of Pi – A spiritual journey with the best images of the year.  

     5.    Looper- a strong sci-fi effort by Rian Johnson that tackles interesting debates on time travel.


     6.     Skyfall – The best Bond film since the Roger Moore era that is at once a classic 60’s Connery entry whilst also a darker, modern turn that the other Craig film’s never quite captured in tone such as this one.

     7.    The Hunger Games – Entertaining on its own without carrying the weight of a book.

     8.    Miss Bala – A well-acted and surprising suspenseful gangland drama.

     9.    The Hobbit – A refreshing dose of Tolkien adapted by Peter Jackson with a smaller, lighter touch counterpointing The Lord of the Rings trilogy nicely.
  
   10.   Prometheus – Despite the plot and mythology issues it’s an atmospheric and cinematographically visceral horror film that proves why Scott is a master film maker.

Films to See #4 Life of Pi




 Life of Pi is a tour de force of cinematic technique and Ang Lee is its main star. In this adaption of the popular 2001 best seller written by Canadian Yann Martel we follow Piscine Molitor Patel, also known as Pi for his ability to memorise the infinitely long number, as his multi-faith beliefs are tested against the savagery of the ocean, the grief of losing his family and the tense standoff with a large, Bengal tiger.

 Suraj Sharma does well for a non-actor though sometimes his lines have an unintended humour possibly from his accent and maybe there would have more weightiness if he spoke in his natural Hindi, though this would not contain Martel’s words and would most likely infuriate the book’s legions of fans. But while he can be funny he can also play the emotion very well particularly his feeling of guilt towards leaving his family behind and his developing kinship with Richard Parker; a hugely expressive Bengal tiger.

 It is the tiger, Richard Parker, who is the lead actor in many ways; the stunning visual effects team have created an amazing creature. Using a real tiger seamlessly with their vibrant FX creation means we can see Richard Parker’s facial expressions as well as his slender body as it shuffles in its elegant walk. One moment that stands out is when the boat fills with water and the expression of fear on Parker’s face is even more animated than the human lead.
 But most credit must lie with Ang Lee, who has created an exquisitely beautiful film. Every frame bathed in colourful, fluid imagery almost visual poetry in shots of a boat floating in the stars, a clear ocean mirroring the vanilla skies above or a solemn tiger staring into the abyss.  Irfan Khan’s performance is utterly absorbing drawing you into this humble tale of God and faith but in a fresh way. Lee is the perfect director to use the 3D technology to create a spiritual journey creating dreamlike sequences where at one point we even enter Richard Parker’s conscience. Lee has made the most thought provoking film of recent years and it doesn’t look too bad either.

****

Thursday 8 November 2012

Films to See 3# Led Zeppelin's Celebration Day


Celebration day is the concert film of Led Zeppelin’s two hour set at the 02 back in 2007. The Gods of Rock have so little footage of them in their 70s prime that they don’t release films, unlike the Rolling Stones who seem to release a new documentary every year these days.  Zeppelin’s reputation was built on their live performance. Their songs would sound different every night and to call them the greatest live act is no stretch once you’ve heard the live album, How The West Was Won. They toured more than anyone and so it’s only fair we get another concert film from them after the brilliant The Song Remains the Same.
 Though named after one of their least inventive tracks, though it features a great Jimmy Page solo, it is a triumph. They play a set featuring many of their most well-known tracks though there is no acoustic section like there was in the mid-70s when their set would stretch well into its third hour. The playing is consistent particularly Jason Bonham and Page whose guitar playing became sloppier in the late 70s due to a heroin addiction.  Good Times Bad Times is a little flat, though the opening chord strikes are a brilliant introduction to those unfamiliar with the Hammer of the Gods. Ramble On really gets things going, its hypnotic rhythm demonstrating the light and shade of their music showcasing Plant. His voice as iconic as the riffs, bringing conviction to Black Dog’s lyrics which would be fake and verge on parody in any other vocalist’s hands. Plant’s best is in Since I’ve Been Loving You.
There is a heavy version of Trampled Underfoot that is by far the best performance of that song. They nailed For Your Life from the Presence album, one of many underrated Zep tunes that they never played live. There are too many songs to name that they could have played; Over the Hills, Ten Years Gone, Communication Breakdown, Tangerine, Immigrant Song etc. The song everyone expected, Stairway to Heaven, is actually the worst one of the night; the guitar is too heavy with feedback running through it.
 Kashmir is the perfect closer with all four giving everything, which finalises why they are better than the Stones (who arrogantly refer to themselves as “the World's Greatest Rock & Roll Band”); because there music transcends all genres. And still they reward us with a couple encores; a brutal rendition of Whole Lotta Love a song they seem to never get wrong and the best of the night. Rock and Roll which has very relevant lyrics as the screen behind displays shots from their 70’s heyday; a time of real music and not random electronic beats or when the fashion of the artist is more important than the songs, when songs could be longer than four minutes.
 Dick Carruthers’ cinematography is fine; there are some cheap tricks such as images going in and out of focus during quieter sections. His finest contribution is at the start where a TV report of them from the 70s plays to the hush of the crowd as the credits roll like the calm before the storm. There are memorable shots such as a low angle shot of Page silhouetted by a stage light, close ups of Plant, or the dolly shots revolving around Jones on keyboard during Trampled. There are occasionally grainy, letterboxed shots; shot from the audiences’ POV they make you feel like you’re there.
Celebration Day is a rare glimpse of Led Zeppelin’s legendary shows and probably the last. It is also an advertisement to other generations to see how great they were and still are. You can see the range of their music from delta blues to stomping funk to Arab march through country and psychedelia.  Forget Crossfire Hurricane, we all know who really is the World's Greatest Rock & Roll Band.

*****
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Films not to see# Drive


 Drive clearly has a taken its aesthetic from the Grand Theft Auto games (not to mention Scarface), particularly noticeable in the 80s synth soundtrack and slick, pink font of the opening credits recalling GTA Vice City. With its near mute, criminal protagonist who harbours a strong violent streak and its gory displays of arterial violence it owes a lot of its style to the popular video game series. It features a lightweight romantic subplot that relies heavily on the facial acting of its two leads; Ryan Gosling and an unexceptional Carey Mulligan. Perhaps though there is no real issue with the actors but the script or the director. The film has its own style particularly in the long passages without any dialogue from the stoic leading man. However this is where the film collapses in this very heavy style in which Gosling’s brooding silence becomes forced and Gosling can’t carry it off, lacking the natural conviction of a ‘Clint Eastwood’ glint. These strange exchanges with the professional getaway driver and part time stunt man are a glaring stilt to the many non- Driving moments; in fact there are just two car chases in this film and both occur in the first act. Both are impressive and Refn’s habit of shooting from the car interior gives the film a very Bullitt feel. But Refn’s film descends into a bloody gangland tale full of Tarantino-esque cartoon violence as the CGI blood begins to splatter left, right and centre the film’s gritty atmosphere is very quickly lost before the halfway mark. It’s a case of being too long, too little drive, too much stylization and too many attempts to give the film a unique style; basically this ain’t no Fight Club, no Matrix and it certainly is not Bullitt!
 With its near mute, criminal protagonist who harbours a strong violent streak and its gory displays of arterial violence it owes a lot of its style to the popular video game series. It features a lightweight romantic subplot that relies heavily on an unexceptional Carey Mulligan. The film collapses in this very heavy style in which Gosling’s brooding silence becomes forced and Gosling can’t carry it off, lacking the natural conviction of a ‘Clint Eastwood’ glint. These strange exchanges are a glaring stilt to the many non- Driving moments; in fact there are just two car chases in this film and both occur in the first act. Refn’s film descends into a bloody gangland tale full of Tarantino-esque cartoon violence as the CGI blood begins to splatter left, right and centre the film’s gritty atmosphere is very quickly lost before the halfway mark. It’s a case of being too long, too little drive, too much stylization and too many attempts to give the film a unique style; basically this ain’t no Fight Club, no Matrix and it certainly is not Bullitt!

**